In 2024 starten Boer en Winnie Herbstein het onderzoeksproject Contemporary Conflict als onderdeel van de fellowship Community and Conflict in an Urban Environment, een samenwerking tussen Framer Framed en de afdeling Politicologie van de Universiteit van Amsterdam.

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In 2024 starten Herbstein en René Boer het onderzoeksproject Contemporary Conflict als onderdeel van de fellowship Community and Conflict in an Urban Environment, een samenwerking tussen Framer Framed en de afdeling Politicologie van de Universiteit van Amsterdam.

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Hij heeft veel gepubliceerd over de geschiedenis en cultuur van Suriname, evenals over cultuurprocessen in wat wel de Black Atlantic wordt genoemd. Sinds 2005 werkt hij drie dagen per week als conservator bij het Tropenmuseum. Daar houdt hij zich bezig met onderzoek, internationaal werk en tentoonstellingen. Deze drie aspecten komen aan bod in een groot project waaraan hij enkele jaren aan werkte over de Marrons in het Surinaamse binnenland. Enkele publicaties van zijn hand zijn: Surinaams Contrast (1993), Kunst van overleven, marronculturen van Suriname (2009), Marcel Pinas. Artist, more than an artist (2011), Rotterdam in Slavernij (2020) en Antilliaans erfgoed: Deel 1. Toen en nu (2021).

Daarnaast is hij actief op het vlak van internationaal gemeenschappelijk erfgoed en projecten over roots in de Afrikaanse diaspora. Hij is ook actief bezig in en met de Caribische gemeenschappen in Nederland.

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Catherine Walsh is a Senior Professor and Director of the Latin American Cultural Studies Doctoral Program at the Universidad Andina Simon Bolivar in Quito. Catherine Walsh also directs the Fondo Documental Afro-Andino, a project dedicated to the recuperation of knowledge in Afro-Ecuadorian communities, and the Intercultural Workshop on Indigenous and Afro voices of the Americas. She has been an invited professor and scholar throughout the Americas. Her current research interests include the geopolitics of knowledge, decolonial thought and pedagogies, interculturality, and the political-epistemic force of present day Afro Andean and Indigenous movements, including with regard to the re-founding of State.

Her recent publications include, among others, Interculturalidad, Estado, Sociedad: Luchas (de)coloniales de nuestra epoca (Quito: Universidad Andina Simon Bolivar/Abya Yala, 2009); “The (De)Coloniality of Knowledge, Life, and Nature: The N.A.-Andean FTA, Indigenous Movements, and Regional Alternatives,” in Shefner and Fernandez-Kelley (eds). Alternative Perspectives on Globalization: Status, Regions, and Movements, Pennsylvania State University Press, in press; “(Post)Coloniality in Ecuador: The Indigenous Movement’s Practices and Politics of (Re)signification and Decolonization,” in Moraña, Dussel, and Jauregui (eds.), Coloniality at Large: The Latin America and the Postcolonial Debate, Durham: Duke University Press, 2008; “Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies “Others” in the Andes”, Cultural Studies, 21, 2-3, 2007; and “Afro-Andean Thought and Diasporic Ancestrality (with E. Leon), in Shifting the Geography of Reason: Gender, Science and Religion, Marina Banchetti and Clevis Headley (eds.), London: Cambridge Scholars Press, 2007

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Katayoun aka discourse, is a curator, selector, and DJ-archivist from Amsterdam. She has long dedicated herself to digging, collecting, and archiving music from 1930s-1980s Iran through storytelling and what she calls ‘musical dreaming’ by activating soulful Persian Avaz, jazz-funk, upbeat funk, and synth-pop. Her research and show titled Female Vocalists from Iran and Beyond (2017-now) is a journey of digging and deep listening across different musical landscapes. While interweaving the voices of 20th-century female vocalists from Iran and neighboring countries, she brings to the fore soothing sounds, forgotten, and lesser-known gems. Her monthly show titled Sonic Imaginaries at Kiosk Radio in Brussels, focuses on infectious Iranian grooves while musing on the Iranian archive and the influence of other musical genealogies such as Latin music, on the music production of the 1960s and 1970s Iran. Her music curation practice has brought her to different nightlife stages, art institutions, listening bars, and events, and allowed her to perform as a support act for Sevdaliza. Beyond her storytelling and soulful approach to re-activating the musical archive of Iran and re-voicing its female vocalists, she is a DJ whose euphoric and dreamlike sound curation moves dance floors across borders and genres.

As an art curator, Katayoun has made two exhibitions at Framer Framed; The End of This Story (And the beginning of all Others) (2015) and Voices Outside the Echo Chamber (2016) and I Speak in Tongues (2017) at 37PK, Haarlem.

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Marcela Varconte is an Afro-Indigenous researcher born in São Paulo. She is a social scientist and activist against environmental racism and for climate justice. She has extensive experience in social research, affective mappings, conflict mediation and cultural interventions in affected areas. Her research Rupturas e continuidades de uma comunidade Negra led her to projects focusing on peripheral black youth, gender studies, Quilombola population and reparation movements.

Marcela has documented the immaterial and ancestral damages suffered by Quilombola and Indigenous populations affected by major disasters in Brazil. An example of this is the Mariana disaster — the largest river destruction in the world caused by the collapse of a mining dam. She was part of the research team for the Rio Doce Project, conducting diagnostics, impact assessments and evaluating damages caused to communities by the Fundão dam collapse in Mariana, Minais Gerais, Brazil.

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Curry heeft een MFA in New Genres van UCLA (2010) en een PhD in Media Study van de State University of New York in Buffalo (2018). Momenteel is hij Associate Professor in Art + Design aan de Northeastern University in Boston. Curry heeft tentoongesteld op locaties als Ars Electronica, ISEA, National Gallery X (Londen), NeMe (Cypress) en het Athens Digital Arts Festival. Zijn onderzoek is gepubliceerd in Leonardo, Big Data & Society, Digital Culture & Society, Visual Resources en Leuven University Press. Zijn werk is gefinancierd door Science Gallery (Dublin, Detroit, Atlanta), NEoN Digital Arts Festival en MediaFutures. Hij is de winnaar van de 2023 MediaFutures Best Artist(s) in de Artists for Media track award.

Samen met Jennifer Gradecki is Derek Curry een deelnemende kunstenaar aan de Framer Framed tentoonstelling Really? Art and Knowledge in Time of Crisis samengesteld door Mi You en David Garcia.

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Gradecki heeft een PhD in Visual Studies van SUNY Buffalo (2019) en een MFA in New Genres van UCLA (2010). Momenteel is ze Associate Professor in Art + Design aan de Northeastern University in Boston. Ze presenteerde en exposeerde onder andere op Ars Electronica (Linz), ISEA (Barcelona), National Gallery X (Londen), NeMe (Cyprus), Athens Digital Arts Festival, International Symposium on Computational Media Art (Hong Kong) en Piksel Festival (Bergen). Haar onderzoek is gepubliceerd in Leonardo, Big Data & Society, Visual Resources en Leuven University Press en haar werk is gefinancierd door Science Gallery, NEoN Digital Arts Festival en MediaFutures.

Samen met Derek Curry is Jennifer Gradecki een deelnemende kunstenaar aan de Framer Framed tentoonstelling Really? Art and Knowledge in Time of Crisis samengesteld door Mi You en David Garcia.

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Zijn werk was onder andere te zien op transmediale in Berlijn, steirischer herbst in Graz, het BFI London Film Festival, de National Gallery of Art in Vilnius, Ars Electronica in Linz en het Aksioma Institute for Contemporary Art in Ljubljana.

Samen met Mark Cinkevich is Anna Engelhardt een deelnemende kunstenaar aan de Framer Framed tentoonstelling Really? Art and Knowledge in Time of Crisis samengesteld door Mi You en David Garcia.

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Samen met Mark Cinkevich is Anna Engelhardt een deelnemende kunstenaar aan de Framer Framed tentoonstelling Really? Art and Knowledge in Time of Crisis samengesteld door Mi You en David Garcia.

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RIWAQ onderscheidt zich door haar focus op het platteland in Palestina. RIWAQ’s ervaring met het restaureren van Palestijns platteland laat zien dat er dringend behoefte is aan gemeenschaps- en culturele centra voor gemarginaliseerde groepen. Sinds 2001 heeft ‘Job Creation through Restoration Projects’ bevestigd dat het restauratiewerk heeft geleid tot een duurzame toename van het bewustzijn van het belang van cultureel erfgoed en heeft geleid tot een hogere levensstandaard van een groot deel van de bevolking.

Omwille van de grote vraag naar deze diensten en de schaarste aan menselijke en financiële middelen, heeft RIWAQ ‘Het 50-dorpen rehabilitatieproject’ geïmplementeerd. Dit is het hoogtepunt van RIWAQ’s lange periode van werken en experimenteren in het rehabiliteren en beschermen van erfgoed in Palestina als een instrument voor socio-economische en politieke ontwikkeling.

De projecten van RIWAQ gaan niet alleen over het creëren van banen of over de restauratie van stenen en historische structuren. Ze gaan ook over het vergroten van het bewustzijn over het belang van cultureel erfgoed als pijler voor de Palestijnse identiteit en het collectieve geheugen. Ook gaan ze over het creëren van een geschikte en veilige ruimte om te leven en te werken en over de productie en verspreiding van kennis.

Vanaf het begin af aan gebruikt RIWAQ erfgoed als een medium om te speculeren over dringende en opkomende socio-economisch-cultureel-politieke problemen. In dit paradigma wordt erfgoed niet alleen het veld voor kennisproductie, maar ook het veld voor verandering.

RIWAQ is een deelnemende kunstenaar aan de Framer Framed tentoonstelling Really? Art and Knowledge in Time of Crisis samengesteld door Mi You en David Garcia.

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Zheng Mahler heeft solopresentaties gehad in het Johann Jacobs Museum, Zürich, Zwitserland (2014, 2016) en PHD Group in Hong Kong (2023). Het collectief heeft ook projecten tentoongesteld in het KW Institute of Contemporary Art, Berlijn, Duitsland (2024); Kunsthalle Mainz, Duitsland (2023); Helsinki Biënnale, Finland (2023); UCCA Dune, Beidaihe, China (2022-23); Singapore Mu-seum of Art (2022); M HKA, Antwerpen, België (2021); Asian Cultural Center, Gwangju, Ko-rea (2021); Shanghai Biënnale, China (2021); Tai Kwun Contemporary, Hong Kong (2019); Akademie der Künste der Welt, Keulen (2019); Para Site, Hong Kong (2016-17) en Per-forma Biënnale, New York (2015).

Zheng Mahler is een deelnemende kunstenaar aan de Framer Framed tentoonstelling Really? Art and Knowledge in Time of Crisis samengesteld door Mi You en David Garcia.

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Ze houden zich bezig met nieuwe relationele strategieën en nieuwe hybride productievormen op het gebied van hybride aanwezigheid. Als een online tv-zender is UKRAiNATV gespecialiseerd in het bouwen van audiovisuele livebruggen, het hosten van een multikanaals streaming hub en opnamestudio. UKRAiNATV experimenteert met tactische media en realiteiten, door gebruikte en gloednieuwe apparatuur en concepten te mixen en eenmalige mengvormen te creëren van het echte en het virtuele, online en offline. Ze zijn een glocale, hybride en collectieve smeltkroes van mensen, machines, ideeën, identiteiten en signalen. Het is een artistiek, sociaal, politiek en op onderzoek gebaseerd project in één.

UKRAiNATV is een collectief dat opereert in de schaduw van oorlog en geopolitieke spanningen en ontstond enkele dagen na de Russische invasie in Oekraïne in 2022. Hun doel is om verbindingen en solidariteit te creëren tussen mensen in nood, vluchtelingen, nomadische kunstenaars, expats en migranten die zich niet veilig voelen om zich vrij te uiten in hun eigen land of staten.

UKRAiNATV neemt deel aan de Framer Framed tentoonstelling Really? Art & Knowledge in Time of Crisis samengesteld door Mi You en David Garcia.

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Ho’s recente solotentoonstellingen vonden plaats in het Art Sonje Center (2024), Singapore Art Museum (2023), Hammer Museum (Los Angeles, 2022), Toyota Municipal Museum of Art (Aichi, 2021), Crow Museum of Asian Art van de University of Texas in Dallas (2021), Yamaguchi Center for Arts and Media (2021), Kunstverein in Hamburg (2018) en Ming Contemporary Art Museum (Shanghai, 2018). Hij vertegenwoordigde Singapore op de 55ste Biënnale van Venetië in 2011. Ho’s recente groepstentoonstellingen zijn onder andere Thailand Biënnale (2023), Aichi Triennale (2019), 12de Gwangju Biënnale (2018) en 10de Shanghai Biënnale (2014).

Zijn werk is ook gepresenteerd in talloze internationale theaters en filmfestivals, waaronder Theater der Welt (2010, 2023), kunstenfestivaldesarts (2006, 2008, 2018), Berlin International Film Festival (2015), Sundance Film Festival (2012), Venice Film Festival (2009) en 41ste Directors’ Fortnight op het Cannes Film Festival (2009). In 2019 was Ho co-curator van de 7de Asian Art Biënnale met de Taiwanese kunstenaar Hsu Chia-Wei in het National Taiwan Museum of Fine Art.

Ho Tzu Nyen is een deelnemende kunstenaar aan de Framer Framed tentoonstelling Really? Art and Knowledge in Time of Crisis samengesteld door Mi You en David Garcia.

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Tijdens een artist-in-residency bij Kunsthuis SYB in 2023, begonnen Pia en Katinka met een onderzoek naar het Lesbisch Archief Leeuwarden (later het Anna Blaman Huis genoemd) dat bestond van 1976 tot 2013. Hier onderzochten ze wat het betekent om dit archief te ontsluiten in een artistieke context. Met dit project reproduceren ze de gebaren van een archivaris bij het zoeken, doorzoeken, inpakken, uitpakken en kopiëren van materialen uit het archief en, wanneer ze hun project delen met een publiek, nemen ze de rol van baliemedewerker en woordvoerder op zich. Een belangrijk onderdeel van deze praktijk voor Pia en Katinka is de affectieve relatie met het materiaal, een echo van de intimiteit uit de begindagen van het archief, terwijl ze tegelijkertijd gebruik maken van hun band als huisgenoten.

Pia maakt performances waarin ze probeert te begrijpen hoe het kunstwerk, de kunstenaar en de (institutionele) context elkaar produceren. Ze stelt zich deze relaties voor als een intertekstueel netwerk, of script, dat ze kan ‘herschrijven’ door middel van performance, gesproken en geschreven tekst. Ze werkt vaak met toe-eigening en (zelf)citatie, waarbij ze oude scripts hergebruikt in nieuwe performances. Hierdoor vormen haar performances hun eigen archief. Ze ziet dit als een manier om vormen van publicatie en tentoonstelling te ontwikkelen die geen transparantie of zichtbaarheid vereisen, maar juist steeds meer lagen aan het werk toevoegen.

Katinka onderzoekt het idee van het huis en thuisgevoel door privéruimtes openbaar te maken en door het idee van het huis als stabiele basis uit te dagen. Momenteel doet ze dit door middel van schrijven. Ze deed onderzoek naar de Rotterdamse en openlijk lesbische schrijfster Anna Blaman (1905-1960), wat onder andere leidde tot een kort verhaal waarin de hoofdpersoon zich verstopt in Blamans virtuele slaapkamer. In het pamflet Loving Characters Into Gas Station Snacks publiceerde ze samen met Sára Iványi het ongemonteerde gesprek dat ze hadden via een sms-gebaseerde datingapp, waarbij ze elkaar dagelijks schreven zonder te weten wie de ander was of hoe die eruitzag.

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You was curator van tentoonstellingen en performatieve programma’s in het Asian Culture Center in Gwangju, Zuid-Korea, Ulaanbaatar International Media Art Festival, Mongolië (2016), Zarya Center for Contemporary Art, Vladivostok (2018). Ook leidt ze het langlopende onderzoeks/curatoriële project Unmapping Eurasia (2018 – ) met Binna Choi. Als curator van Sci-(no)-Fi  aan de Academy of the Arts of the World, Keulen (2019) en van Lonely Vectors in het Singapore Art Museum (2022), onderzocht ze de sociale impact van nieuwe technologieën en ‘actionable speculations’.

Ze was een van de curatoren van de 13de Biënnale van Shanghai (2020-2021). Op sociaal gebied is ze voorzitter van het comité voor mediakunst en technologie van de transnationale NGO Common Action Forum. In 2022 werd ze door het internationale kunsttijdschrift Apollo uitgeroepen tot een van de 40 onder de 40 van Azië-Pacific. Samen met met David Garcia was ze co-curator van de tentoonstelling Really? Art and Knowledge in Time of Crisis (2024) bij Framer Framed.

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Son heeft samengewerkt met verschillende instellingen wereldwijd, waaronder Z33, Design Museum Gent, iMAL (BE); Sonic Acts, MU Hybrid Art House (NL); Barbican Centre (UK); Kampnagel, ifa, Deichtorhallen, LAS Art Foundation (DE);

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Latent Community is the interdisciplinary artist duo consisting of visual artists and filmmakers Sotiris Tsiganos and Ionian Bisai. They work with the moving image and sound in research-based projects as tools to explore issues of social, political and ecological justice. Their interdisciplinary practice integrates extensive fieldwork with relational strategies and performative sequences as means to render forgotten memories, to amplify unheard voices and to explore overlooked ecosystems

Their work has been presented internationally in exhibitions and festivals such as Athens Biennale (2017); documenta 14 – Public Programs (2017); Sharjah Film Platform – Sharjah Art Foundation (2019); Recontemporary art space in Turin (2019); Thessaloniki Documentary Festival (2020); PCAI – Polyeco Contemporary Art Initiative (2020); School of Waters – Mediterranea 19 Young Artists Biennale (2021); Grand Central Art Center, California, USA; and the 23rd Biennale of Sydney: Rīvus (2022).

They have been granted awards by LOOP Barcelona, Sharjah Art Foundation, ARTWORKS-SNF Artist Fellowship Program and The Stavros Niarchos Foundation Public Humanities Initiative (SNFPHI) at Columbia University. Latent Community has participated in international residency programs such as Bemis Center for Contemporary Arts, USA; ONASSIS AiR: The School of Infinite Rehearsals, and Caravan Residency Program (Cittadellarte–Fondazione Pistoletto & Centre for Fine Arts–Bozar).

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Peng Zhang (1990) works and lives in Amsterdam. He is a Chinese artist, working on land projects, sculptures, paintings and drawings. Zhang’s fascination with art is inspired by rural life in Shijian Cun, the village where he was born in southern China, and his current life in the Netherlands. He created the land projects 72m2 Land and Paradise Garden. Serials. He also participated as the first resident of Grasland, Elzinga in Groningen.

Zhang constructs rural worlds by visualizing the poetic and harmonious moments of daily life in his paintings and drawings. He was a resident of Rijksacademie van beeldende kunsten from 2021 to 2023. He also studied for his MFA at AKV/St. Joost School for Art and Design Academy in Den Bosch.

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Angeliki Tzortzakaki works as a writer, curator, project coordinator and tutor. Her practice materialises in multiple, often performative ways, and overall looks at narratives that wish to break the nature-culture binary. Recently, she has been part of the curatorial team of the 2024 Sonic Acts Biennial and curated a solo exhibition by artist Yorgia Karidi at the Theocharakis Foundation in Athens. Previously, she curated for the Mediterranea Biennial and the 2023 Eleusis European Capital of Culture. In 2021-2022, Angeliki received the Curatorial Fellowship ARTWORKS from the Stavros Niarchos Foundation in Athens while previously was a fellow at the nomadic programme A Natural Oasis? (2018-2020).

She has been collaborating closely with Mercedes Azpilicueta since 2019, in the development and coordination of some of her long-term projects. Angeliki’s — mostly collaborative — curatorial, editorial and artistic work has been presented at HIAP (Helsinki), Künstlerhaus Büchsenhausen (Innsbruck), 19th Mediterranea Biennial (San Marino), Onassis Foundation (Athens), Italian Institute of Culture (Tokyo), Laurel Project Space (Amsterdam), JaJaJa NeeNeeNee (Amsterdam), Kunstfort bij Vijfhuizen, PARADISE AiR (Matsudo), Stavros Niarchos Foundation Cultural Center (Athens) and published among others at Flash Art International, Arts of the Working Class, ATP Diary, Roots-Routes, Archive Books, Building Fictions, Lugemik and De Appel.

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Jean-Sylvain Tshilumba Mukendi is currently project and artistic coordinator at Atelier Picha (Lubumbashi, DRC). Cultural practitioner, researcher and writer at heart, his research interests revolve around art practices of Africa and its diaspora and the relevance of globalism in the contemporary art world. In 2019, he obtained a Master of Art in Art History as part of the Arts of Africa and Global Souths research programme (NRF) at Rhodes University, South Africa.

He has collaborated with several cultural institutions and art platforms including: the Kin ArtStudio (Kinshasa), Pavillon 54, Framer Framed (Amsterdam) and The Prince Claus Fund (Amsterdam). He has recently contributed to the management of the 7th edition of the Lubumbashi Biennale, the DRC Pavilion at the 23rd edition of the Triennale Milano, and the exhibition Toxicity at the 5th edition of the Kochi-Muziris Biennale.

His writings have been featured in several specialized magazines, exhibitions catalogues and academic publications.

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Antonio Vincenzo Sotgiu, Jean Ni and Cassidy McKenna are three friends whose common interests include land-based living, deep concept theoretical thinking and eating beyond their stomachs’ capacities of chickpeas. They have so far spent stretches of summer (harvesting the fava), autumn (consuming the fava), and winter (sowing the fava) together in the village of Semestene, Sardinia (population: 80, plus the sheep), where Antonio and Jean live.

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Antonio Vincenzo Sotgiu, Jean Ni and Cassidy McKenna are three friends whose common interests include land-based living, deep concept theoretical thinking and eating beyond their stomachs’ capacities of chickpeas. They have so far spent stretches of summer (harvesting the fava), autumn (consuming the fava), and winter (sowing the fava) together in the village of Semestene, Sardinia (population: 80, plus the sheep), where Antonio and Jean live.

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Antonio Vincenzo Sotgiu, Jean Ni and Cassidy McKenna are three friends whose common interests include land-based living, deep concept theoretical thinking and eating beyond their stomachs’ capacities of chickpeas. They have so far spent stretches of summer (harvesting the fava), autumn (consuming the fava), and winter (sowing the fava) together in the village of Semestene, Sardinia (population: 80, plus the sheep), where Antonio and Jean live.

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Sophia Dorfsman (she/her) is a designer who questions frameworks, seeks poeticisms and organizes systems. A profound fondness for food and all its entanglements has led Sophia’s practice into studying ways of transcribing food-making practices.

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Luke Stark (he/him) was born in the USA and is a life-long agriculturalist with international work experience spanning sheep dairying to corporate finance advisory from the green paddocks of New Zealand to the hustle and bustle of Amsterdam’s canals. Inspired by the land’s inaugural bean zine, his most recent creative endeavour is the construction of a series of over-sized, papier-mâché beans.

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Sarah Ndele is a visual artist and cultural operator who lives and works in Kinshasa in the Democratic Republic of Congo. She graduated from the Academy of Fine Arts of Kinshasa in 2013.

Sarah Ndele is the type of artist who expresses herself through different mediums, such as installation, performance, painting or writing. Her work questions the memory, the roots and the present of initiation among the Bakongo people in the west of the DRC. The anti-colonial revolutionary and prophetess Kimpa Vita (1684-1706) is her main source of inspiration. This is how she conducts research into Kongo art.

Sarah Ndele has participated in several festivals, such as KinAct in Kinshasa, the Emomé Art Festival in Togo and the Nyege Nyege Festival in Uganda. She curated and participated in artistic and cultural projects in Benin, Cameroon, Congo and Brazil. Next to that, she wrote the article Congo: fertile trees near the source, organises night exhibitions in Kinshasa and is coordinator at the Farata collective. Ndele also organises and coordinates the 2024 performance art festival Kin-Etelemi-Telemi and the women’s festival Kasala in the Soul of Women, with the collective Ndaku Ya La Vie Est Belle in Kinshasa.

Sarah Ndele’s performance for Maintaining the Root (2024) at Framer Framed, Amsterdam. Photo: © Marlise Steeman / Framer Framed

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Mamo Arwawiku is the spiritual founder (or Mamo) and guide of the Kwarte Umuke community of the Iku people (also known as Arhuaco). This community is situated on the front line of the resistance between their culture and that of the ‘younger brother’ (Westerners) in the Sierra Nevada de Santa Marta, Colombia. This is where four indigenous peoples live, who have skillfully survived the extermination attempts of the Spanish, the Capuchin missionaries, paramilitaries, the megaprojects, and all those who want to wipe out the indigenous people in order to govern as a single entity. In the struggle, mainly women have been attacked, losing their womb, their family, their language and their knowledge. That is why Mamos like Arwawiku have focused on defending their territories, like the place where he planted the seed (kankurwa) that has sprouted as a big community in the front lines of re-existence.

From a very early age, Mamo Arwawiku learned to heal and defend the territory following the spiritual teachings of his parents and grandparents. For this, it is necessary to connect his thoughts with Mother Earth, to talk to her and to take care of her in each territory. In order to heal, he learned to walk through different territories to identify where the destructive thoughts come from and to know in which part of the territory the diseases come from.

Mamo Arwawiku has traveled to various countries warning of the dangers of destroying the landscapes and showing how we are making Mother Earth sick. He has focused on reweaving the spiritual fabric between countries. If he has the opportunity to teach people to connect their thoughts with Mother Earth and heal, he does it because it is his mission. At 78 years of age in 2024, his job is to pass the knowledge on to the next generations, so that they can heal, recover their culture, their territory, their knowledge and defend life from the spirit.

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María Eufemia Arroyo Izquierdo (2002) grew up in the deepest part of the Sierra Nevada de Santa Marta, next to the snow-peaked mountains at the center of the Indigenous reservation where the four different cultures of the region meet. Even though she was given a western name, she was recognized as a guardian weaver of her culture and a guardian of the feminine thought, which is essential for the care of Mother Earth. As a young mother herself, she was given the task of caring for the relation between Mother and child, where the caring for water begins. After her education she moved to the Kwarte Umuke community where, through traditional work, she looks for harmony in the defense of the Sierra Nevada region.

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Dwanimako Arroyo Izquierdo (2000) lives in Donachui in the Sierra Nevada de Santa Marta, Colombia as a member of the Iku people. When he was young his family moved to the central zone in the Kwarte Umuke community, where he began his studies at the ethno-educative institution Imanuel Lyceum of the North. After finishing his studies in 2019, he began the process of remembering his ancestral culture. He is determined to strengthen the care for Mother Earth by protecting the territory: “Donachui is the heart of a living world where the thought is protected as the Law of Origin”.

Dwanimako is on the pursuit for the autonomy of his community, taking care of their native seeds and their ancestral agriculture practices. He works with women (Atis) and authorities of various communities on protecting Mother Earth, the thought that cares for life and gives us all food and protection. He learns by listening to the elders and follows the guidance of the Mamos (spiritual guides), who listen to Mother Earth and deliver offerings on the diverse territories. His dream is to share their story so that we all defend Mother Earth, together with the environmental defense, a healthy life and the care of love.

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Samah Hijawi is a multimedia artist, writer and astrologer. Her projects are deeply rooted in historical narratives which are used to re-imagine our contemporary life beyond the radicalized and polarized discourses that direct our lives today. In her recent project Kitchen. Table., she researches the histories and cosmologies of the food on our tables. She recently completed a PhD in Art Practice titled Chicken Scribbles and the Dove that Looks Like a Frog, where she explored deconstructing colonial representations of Palestine through performance and collage. This gave birth to a curated and pedagogical project titled Aesthetics of the Political, that explored how artists materialise their political ideas and positions into aesthetic form. In her past life, she collaborated with Ola El-Khalidi and Diala Khasawneh in directing Makan (2003-2016), an independent space for contemporary art in Amman, Jordan. And together with Shuruq Harb and Toleen Touq she co-curated the platform The River has Two Banks (2012-2017), initiated to address the distances and proximities between Jordan and Palestine. In 2023, she joined DAS Theatre at the Academy of Theatre and Dance, Amsterdam as a tutor.

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Leanne Betasamosake Simpson is a renowned Michi Saagiig Nishnaabeg writer, musician, academic and activist who has been widely recognized as one of the most compelling Indigenous voices of her generation. Her work breaks open the intersections between politics, story and song—bringing audiences into a rich and layered world of sound, light, and sovereign creativity. She is a status member of Alderville First Nation in Ontario, Canada.

Leanne is the author of eight previous books, including As We Have Always Done (2017) and Dancing on Our Turtle’s Back.  Her novel Noopiming: The Cure for White Ladies, which was short-listed for the Dublin Literary Prize and the Governor General’s prize for fiction. Her latest project in collaboration with Robyn Maynard, Rehearsals for Living was short-listed for the Governor Generals prize for non-fiction and is a national bestseller.  Leanne’s album Theory of Ice was shortlisted for the Polaris Prize and she was the recipient of the Prism Prize’s Willie Dunn award for innovation in video production.

Working for two decades as an independent scholar using Nishnaabeg intellectual practices, Leanne has lectured and taught extensively at universities nationally and internationally and has twenty years experience with Indigenous land based education. She holds a PhD from the University of Manitoba.

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Dwasimney Del Carmen Izquierdo Torres (2006) is a member of the Kankurwa community of Kwarte Umuke and an assistant for the traditional and spiritual work of Mamo Arwawiku. She is part of the fabric of Iku culture. Dwasimney is enthusiastic to be part of the ever-continuing of histories in both past and future of the Iku, who give importance especially to women, as is determined by their ancestors. She is eager to share the deep meaning of weaving, in particular the weaving of tutus, in the hope that we gain an understanding of them.

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Ilga Minjon (they/them) is a curator, researcher and educator with a focus on public space, ecology, and digital culture. In their work they aim to weave together and facilitate future imaginaries from practices that speculated on the physical senses and (networked) relations, as well as queer, decolonial and feminist re-writings of belonging.

At Stroom Den Haag they have curated, among others, Attempst to Read the World (Differently): Three Exhibitions in Five Acts, with Max de Waard, Monira al Qadiri and Jean Katambayi Mukendi, Lawrence Lek: Nøtel The Hague , Yvonne Dröge Wendel: To Be To Gather ; and From the Sea to the Clouds to the Soil , a group exhibition mapping kinship relations across time and technologies with Femke Herregraven, Risk Hazekamp, ​​Urok Shirhan, Yeon Sung and Natasha Tontey. They have initiated and curated the Uncertainty Seminars , an ongoing cycle of experimental exchanges, platforming interdisciplinary ways to imagine uncertainty as a cultural strategy.

As a tutor at Design Academy Eindhoven, Ilga is part of a teaching collective conducting a course in contextual studies and design research for the Bachelor program. They are part of a collective Reading Vigil for Palestine , a group of people who gather on Dam square in Amsterdam daily since November 2023, to read about Palestine in public space until a permanent ceasefire. The readings, recorded in full, are broadcast monthly on the Palestinian online radio station, Radio Alhara.

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Seynawiku Izquierdo Torres (1987) was born in Donachui in the Sierra Nevada de Santa Marta in Colombia. In 2004 he moved from the high mountains to Kwarte Umuke, where he began to work as a representative of the Kankurwa community while raising a family. Seynawiku is an apprentice training towards becoming a Mamo, a spiritual guide. In his practice he weaves chinchorros, mantas and more. He always aims to teach younger siblings, or westerners, to ‘root the thinking’, enabling them to give importance to the caring for Mother Earth, something which corresponds to all human beings.

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Natalia Giraldo Jaramillo is an anthropologist, researcher and university professor in native philosophies, environmental conflicts and environmental care. Her research delves into the contexts of extractive megaprojects and the armed conflict in Colombia. Currently attached to the legal and socio-legal studies research group of the University of Caldas, she assists in the defence of Decree 1500, a law aimed at protecting the ancestral territory of the four indigenous peoples of the Sierra Nevada de Santa Marta in Colombia.

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LI Yuchen (1991) is a visual and performance artist from Nanchang, China, currently living and working in Amsterdam. The work of LI Yuchen revolves around migration, diasporic experience, memory and a sense of belonging. She investigates the historical-cultural-political contexts which gear the movements of both humans and our goods, for the stories of both are intrinsically intertwined. Her approach is not through macro narratives presented in the media or institutions, but through listening to the micro narratives. By engaging with the personal experiences and the memories they hold, she hopes to come to a more complex and nuanced understanding of realities. Through her visual and oral storytelling in the form of installations, videos and performances, LI aims to comprehend the dynamics when we encounter ‘the other’ and to explore different ways of weaving relations with the world.

In 2013, she graduated from Life Sciences in Xiamen University in China. In 2021, she graduated from ArtEZ University of Arts in Arnhem, Netherlands. Her work has been shown in various art and academic institutions in the Netherlands and abroad, such as Stedelijk Museum, Rijksakademie, CBK Zuidoost Amsterdam, Casco Art Institute Utrecht, Arnhem Museum, Utrecht University, International Institute of Social Studies The Hague, Wageningen University; as well as Beaufort Triennale Belgium, Bonn University, Kassel University Germany, Editorial Colectivo Retos Mexico and UniTierra Manizales Colombia.

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Lauren Alexander (1983, Pretoria, Zuid-Afrika, zij/haar) studeerde Grafisch Ontwerp in Zuid-Afrika. Ze verhuisde naar Nederland om een Master in Design aan het Sandberg Instituut te voltooien en een MFA aan het Dutch Art Institute in Arnhem. Haar onderwijs en ontwerppraktijk is gericht op artistiek onderzoek, waarbij design wordt gebruikt als hulpmiddel om impactvolle verhalen te vertellen.

Sinds 2009 werkt Lauren intensief samen met de Syrische ontwerper Ghalia Elsrakbi als Foundland Collective. Sinds 2013 exposeert het collectief internationaal werk, zijn ze genomineerd voor de Prix de Rome prijs (2015), Dutch Design Awards (2016) en zijn ze fellow van het Smithsonian Artist Research programma. (2015-2016). Bij Framer Framed nam Foundland deel aan de tentoonstelling Voices Outside the Echo Chamber (2016).

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Annelys de Vet (1974, NL, she/her) is a Belgium-based designer, researcher, and educator with a practice for long-term, participative design projects that actively engage in social and political struggles.

Currently, De Vet is a PhD researcher at ARIA, a practice-led doctoral study at Sint Lucas School of Arts and the University of Antwerp. Her research focuses on the conditions of design pedagogy to counteract oppression and injustice through design. She teaches in the master’s program in a social-political context at the Sint Lucas School of Arts, and regularly lectures on alternative cartography, critical pedagogy, and relational design practices at various institutions worldwide.

De Vet established the temporary master’s program Disarming Design (2019–2022) at the Sandberg Instituut Amsterdam, dedicated to design practices in situations of oppression at the intersection of design, crafts, politics, pedagogy, community, and activism. She edited Design Dedication (Valiz, 2020), a publication exploring adaptive mentalities in design education informed by heading the MA in Design ‘Think tank for Visual strategies‘ at the Sandberg Instituut in Amsterdam from 2009 to 2019.

De Vet initiated the publishing initiative Subjective Editions, which provides publications mapping countries from the inside out, offering a human perspective. Notable publications in this series include the Subjective Atlas of Amsterdam (2023), Subjective Atlas of Brussels (2018), Subjective Atlas of Colombia (2015), and Subjective Atlas of Palestine (2007).

Additionally, De Vet co-founded Disarming Design from Palestine, a thought-provoking design platform developing artisanal products from Palestine that convey alternative narratives about life under occupation. This initiative started in 2012 in collaboration with Khaled Hourani and the International Academy of Arts Palestine. In 2015 it continued as an independent non-profit organization based in Belgium and Palestine since 2015.

As a total, the body of work explores the role of design in public and political discourse, seeking to develop methods, structures, and tools that empower a pluralist society through design. The different projects explore how design can be a powerful activism and social change tool. The approach encourages critical thinking about the role of design in society, challenging dominant narratives, questioning preconceptions, and prompting discussions about the ethics and responsibilities of designers in addressing complex social and political problems.

Subjective Atlas of Amsterdam

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Jhen Chen is a designer based in Taiwan and the Netherlands. Chen’s recent works examine the representation of colonial oppression in contemporary society through books and multimedia. She was a participant of the Jan van Eyck Academie from 2018 to 2019. Chen’s publications have won awards such as the ‘De Best Verzorgde Boeken’ and the ‘Golden Butterfly Award’ (Best Book Design in Taiwan) and have been exhibited internationally.

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Nathalie Roos is afgestudeerd als docent aan de docentenopleiding Beeldende Kunst en Vormgeving aan de Amsterdamse Hogeschool voor de Kunsten (AHK). Vervolgens studeerde ze Culturele Antropologie aan de Universiteit van Amsterdam en voltooide ze de interdisciplinaire master Kunsteducatie (AHK). Nathalie werkte in een atelier voor dak- en thuisloze kunstenaars, als educatief ontwerper bij BAK – basis voor actuele kunst, en ze zette met haar stichting EMIC kunsteducatieve projecten op, waarin verschillende groepen (bijvoorbeeld jongeren en dak- en thuislozen) samen werkten aan projecten rondom actuele maatschappelijke vraagstukken en hedendaagse kunst.

Nathalie werkt sinds 2017 als docent aan de Breitner Academie (AHK) en als onderzoeker bij het Lectoraat Kunsteducatie (AHK). Momenteel is ze een PhD kandidaat bij de afdeling Kunst en Cultuur aan de Erasmus Universiteit Rotterdam. Voor haar PhD bouwt ze voort op de uitkomsten van haar eerdere onderzoek Dealing with the real stuff. Design research into interdisciplinary citizenship education through the integration of civic and arts education (Roos, 2020) en richt zich op het ontwikkelen van een pedagogische aanpak voor docenten in opleiding kunst- en maatschappijleer, gebaseerd op de praktijken van hedendaagse activistische kunstenaars. Daartoe onderzoekt ze in haar PhD visies, methoden, hoop, dromen en dilemma’s van activistische kunstenaars en de (artistieke) strategieën die zij gebruiken om urgente sociale kwesties aan te pakken, door middel van etnografisch veldwerk binnen activistische kunstpraktijken en literatuurstudie. De uitkomsten van dit veldwerk zullen worden vertaald in het ontwerp van een interdisciplinaire minor voor docenten in opleiding in zowel de kunsten als in maatschappijleer (in samenwerking met de Amsterdamse Hogeschool voor de Kunsten, de Hogeschool van Amsterdam en Framer Framed).

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Qais Assali is an interdisciplinary artist/designer born in Palestine in 1987 and raised in the UAE before returning to Palestine in 2000. Assali taught in Visual Communication at Al-Ummah University College, Jerusalem, Michigan State University, MI, and Vanderbilt University, TN. Recently, Assali joined the School of the Museum of Fine Arts’ faculty at Tufts University, Boston, MA. Assali was a 2019-21 Core Fellow at the Museum of Fine Arts, Houston, TX.

Assali holds four degrees in visual arts from Palestine and the U.S, a BFA in Graphic Design from An-Najah National University 2009, and a BA in Contemporary Visual Art from the International Academy of Art Palestine 2017. He simultaneously completed an MFA from Bard College, NY 2019, and an MA in Art Education from the School of the Art Institute of Chicago, IL 2018.

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Aisha Mershani completed her Ph.D. degree (2015) from the UNESCO program in International Peace, Conflict, and Development Studies at the Universitat Jaume I in Castellón de la Plana, Spain. Mershani’s dissertation, entitled Palestinian Civil Resistance: A Case Study of the Popular Struggle Against the Wall from 2002-2013, focused on life in the Occupied West Bank since the establishment of the Israeli Apartheid Wall, and the Palestinian popular struggle to nonviolently remain on their lands.

From 2003-2022 Mershani focused her subject on Palestine/Israel and photographed nearly every aspect of life under occupation. These photographs cannot be seen in mainstream media and have been in multiple publications, as well as many Internet news sites over the years, to further the awareness of the ongoing non-violent grassroots movement.

As founder of Project Souarna (our photos) Mershani conducted a photography workshop in 2009 for refugee and displaced Arab youth living in and near al Wehdat refugee camp in Amman, Jordan. The project brought together Palestinian, Iraqi, bidun Kuwaiti, and Sudanese youth with international photographers and artists to create a body of work that expressed the situation of youth living in the region.

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Chiara De Cesari  is Professor of Heritage, Memory and Cultural Studies, and Chair of Cultural Studies at the University of Amsterdam. Having received a BA and MA from the Free University of Berlin and a PhD in socio-cultural anthropology from Stanford University, she has held research and teaching positions at the universities of Cambridge and Utrecht, among others. Her wide-ranging research explores how forms of memory, heritage, art, and cultural politics are shifting under conditions of contemporary globalization, (post)coloniality and state transformation.

Committed to transnational and transdisciplinary collaboration, she has been involved in several major international research projects. Currently, she is PI of Imagining Institutions Otherwise: Art, Politics and State Transformation (IMAGINART) and co-PI of the NWA project ‘Pressing Matter: Ownership, Value and the Question of Colonial Heritage in Museums‘, as well as a member of the Trans-Atlantic Platform for Social Innovation’s ‘Worlding Public Cultures’ network.

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Dr. Khaldun Bshara (Ph.D. in socio-cultural Anthropology) is an architect, restorer, and anthropologist. He is currently an assistant professor at the Department of Social and Behavioral Sciences at Birzeit University and serves as a senior advisor for Riwaq Centre, Ramallah, where he has worked since 1994 (and as a director between 2010-2020) in documenting, protecting and restoring built Palestinian heritage. Bshara received his B.Sc. in Architectural Engineering from Birzeit University (1996) and his MA in the Conservation of Historic Towns and Buildings from the Catholic University of Leuven, Belgium (2000). Interested in space and memory, he joined the University of California, Irvine on a Fulbright Scholarship where he obtained an MA in Anthropology in 2009 and his Ph.D. in 2012. Bshara has been the editor of Riwaq’s Monograph Series on Architectural History in Palestine since 2010. He edited, authored, and co-authored several books and articles.

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Karmel Sabri (b. 1995 in Minneapolis, MN) is a socially engaged artist and organiser working primarily with installation, printmaking, public interventions, and parties. She creates environments which foster meaningful discussion and encourage community healing of collective colonial traumas.

Sabri explores the concept of celebration as a method of resistance through her organization, Dear Gaza 501(c)(3), which from 2015-2019 curated programing, most notably through an annual block party, which provided a platform for artists to engage in a public celebration of Palestinian culture in a context that was never imagined before. Her programming has been supported by The Walker Art Center, The Minnesota State Arts Board, and the Metropolitan Regional Arts Council. Sabri was selected for the Jerome Early Career Printmakers Residency at Highpoint Center for Printmaking in Minneapolis from 2019-2020.

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De afgelopen vijftien jaar was Sébastien Hendrickx actief als dramaturg voor NTGent, Toneelhuis en KVS, kunstcriticus voor verschillende tijdschriften en docent aan KASK & Conservatorium. Momenteel werkt hij aan een artistiek onderzoeksproject over cosmogrammen. Dit zijn objecten die kosmologieën of totale wereldbeelden representeren. Van 2014 tot 2022 maakte hij deel uit van de redactie van het theatertijdschrift Etcetera.

Als activist was hij betrokken bij Extinction Rebellion en initieerde hij Het Burgerparlement een campagnes over democratische innovatie en More Than Enough over post-groeibeleid.

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Arjuna Neuman is geboren in een vliegtuig en heeft daarom meerdere paspoorten. Hij is kunstenaar, filmmaker en schrijver. Ook is hij medeoprichter van Archive of Belonging, een database met informatie over migranten en vluchtelingen. Neuman gebruikt het essay als een multi-perspectief en intrinsiek toekomstgerichte leidraad die zijn experimentele onderzoek en creatieve benadering ondersteunt.

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Recente solotentoonstellingen waren onder andere te zien in The Breeder Gallery in Athene, Blenheim Walk Gallery in Leeds en SixtyEight Art Institute in Kopenhagen. Goni heeft een bachelor en een master in sociale en culturele antropologie en in beeldende en digitale kunst.

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Severios is gevestigd in Oostenrijk, waar haar werken deel uitmaken van de Federal Artothek; ze ontving de Mentoring-Program-Kunst alumni beurs van de Academy of Fine Arts Vienna (2022) en de Kunsthalle Wien Prize (2021). Ze studeerde af aan de Academie voor Beeldende Kunsten in Wenen, bracht een jaar door aan de ASFA in Athene en verbleef in Beiroet en Los Angeles.

Tentoonstellingen waar ze aan mee heeft gedaan zijn onder andere SZIPE’s parallelle tentoonstelling in Shenzhen (2022), Handspells in Kunsthalle Wien Prize (2021), The Use of Landscape en Galeria Posibilă (2021).

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Otta heeft een master in culturele studies en volgde een PhD-opleiding aan de Academie voor Beeldende Kunsten in Wenen. Ze volgde residenties bij onder andere Gapado AiR, Capacete en Sommerakademie im Zentrum Paul Klee. Ze is medeoprichter van het kunstenaarscollectief Bisagra in Lima en het ecofeministische collectief Mouries in Athene. Ook coördineerde ze het team curatoren die verantwoordelijk was voor de permanente tentoonstelling in het museum Lugar de la Memoria, la Tolerancia y la Inclusión Social in Lima.

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Ze is een cultureel producent, curator en beeldmaker uit Nederland met Ethiopische achtergrond. In haar onderzoek en artistieke praktijk focust ze zich op Afrodiasporische archieven, vooral in de context van de Hoorn van Afrika. Andere onderzoeksgebieden zijn de perceptie van islamitische beeldende kunst in Afrika.

Door middel van haar zelf geïnitieerde project, Oromia Records, voert ze doorlopend artistiek onderzoek uit op het gebied van culturele, historische en artistieke materialen van de Oromo’s uit de Hoorn van Afrika. Door middel van langetermijnprojecten en een kritische blik wilt ze met Oromia Records een nieuwe benadering bieden voor de studie van het culturele erfgoed van de Oromo binnen de context van Ethiopië en de diaspora.

In 2020 was ze medeoprichter van de Association for Black Art_ists e.V., een platform dat zwarte kunstenaars en archivarissen in Europa ondersteunt. De organisatie heeft talrijke projecten en artistieke ervaringen geproduceerd in zowel Duitsland als Nederland. Van 2022 tot 2023 was ze gast fellow bij PACT Zollverein, waardoor ze de tijd en ruimte kreeg om haar artistieke praktijk verder te ontwikkelen.

Ze heeft lezingen en workshops gegeven over Zwarte Archieven op verschillende locaties, waaronder het Internationales Frauen* Film Fest, Institute of Art History van de Universiteit van Zürich en AfroDiaspora 2.0 e.V.

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Films en videowerken van Metahaven zijn onder andere Capture (2022), Chaos Theory (2021), Hometown (2018), Eurasia (Questions on Happiness) (2018) en Information Skies (2016). Boeken van Metahaven zijn onder andere PSYOP: An Anthology (2018, onder mederedactie van Karen Archey), Digital Tarkovsky (2018) en Uncorporate Identity (2010, mede geredigeerd door Marina Vishmidt).

Op dit moment werkt Metahaven aan The Feeling Sonnets (Transitional Object) (2024) een nieuw filmwerk over poëzie en AI dat mede gebaseerd is op een dichtbundel van Eugene Ostashevsky. Een nieuw boek van Metahaven, over de toekomst van de ‘beholder’s share’ in de kunst, zal in de lente van 2025 bij Verso verschijnen.

Metahaven presenteerde solotentoonstellingen bij onder andere MoMA PS1, New York, het Guggenheim Museum Bilbao, ICA Londen, het Stedelijk Museum Amsterdam, Yerba Buena Center for the Arts, San Francisco, Asakusa, Tokio, Izolyatsia, Kyiv, e-flux, New York, Tick Tack, Antwerpen en State of Concept Athens. Metahaven nam deel aan groepspresentaties bij Artists Space, New York, het Museum of Modern Art Warsaw, de Gwangju Biennale, de Sharjah Biennial, de Busan Bienniale, Ghost:2561, Bangkok en vele andere.

Metahaven is artistiek adviseur bij de Rijksakademie, gelieerd onderzoekers aan Antikythera en afdelingshoofd van de Geo-Design masterafdeling aan de Design Academie Eindhoven – DAE.

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In haar werk onderzoekt Paula Albuquerque de macht van archieven in het reproduceren van sociale en raciale stereotypen. Ze  analyseert hoe archieven vaak gepaard gaan met een politiek van onteigening en met de reproductie van discriminerende raciale en gendergerelateerde categorieën ongelijkheid in stand houden.

Voor haar nieuwste solotentoonstelling Colonized Landscapes and Spectral Deterritorialised Flora (2024) bij Zone2Source in Amsterdam richt Albuquerque zich op het gekoloniseerde landschap in voorheen bezette gebieden en de rol van vroege film als een vorm van proto-surveillance bij het in stand houden en bestendigen van koloniale structuren. Het materiaal is afkomstig uit het archief van het Eye Filmmuseum, waaronder homevideo’s gemaakt tussen 1912 en 1940 in voormalig Oost- en West-Indië, waarin de reizen van Nederlandse kolonisten worden weergegeven die bepalend waren voor de manier waarop Nederland zijn overzeese gebiedsdelen zag.

Als kunstenaar heeft Paula Albuquerque verschillende solotentoonstellingen op haar naam staan, waaronder bij: Zone2Source (2024); Bradwolff Projects (2023, 2018, 2015), Looiersgracht 60 (2023) en Nieuw Dakota (2020). Haar films werden vertoond op de internationale filmfestivals DocLisboa (2023), Sheffield DOC|Fest (2020) en het IFFR Rotterdam (2016).

Ze presenteerde papers op conferenties als Media in Transition bij MIT; NECSUS-conferentie. Ze publiceerde de boeken Enter the Ghost – Haunted Media Ecologies (2020) en The Webcam as an Emerging Cinematic Medium (2018).

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Van 2009 tot 2018 was hij financieel directeur van If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution. Daarvoor werkte hij o.a. bij VocaalLAB, De Kiss Moves, Dance Unit, Suzy Blok, Dansgroep Krisztina de Chatel, Karin Post en Dries van der Post, Will Spoor, Jeannette van Steen, Leine & Roebana, Karina Holla, Tyatro Festivali, Tango Magia Festival.

Hans Schamlé was directeur ad interim van het DOD, Directie Overleg Dans, de brancheorganisatie voor de dans in 2005-2006. Bij het Amsterdams Fonds voor de Kunst was hij adviseur voor de disciplines dans, mime en theater. Hans Schamlé was voorzitter van de Cultuurcommissie van Stadsdeel Amsterdam Oost (2013-2018) en actief als bestuurslid bij Cinedans, Lima, De Zaak Nu en Stichting Het Hem. Sinds 2023 zit hij in de Raad van Toezicht bij Framer Framed in Amsterdam.

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Astrit Ismaili is a performance artist from Kosovo, based in Amsterdam. Their artistic practice features bodies that consist of both imaginary and material realities, using alter egos, body extensions and wearable music instruments to embody different possibilities for becoming. Within their practice, the act of singing is used to explore the role of voice in pop culture and identity politics. Astrit Ismaili’s central interest is how bodies are constructed and interpreted through contemporary society, but also how they are heard, asking what it means to sonify a body politic. Exploring the politics of the body and voice, they aim to disrupt prevailing narratives around representation, imagining new and utopian ways of thinking, how bodies inhabit and occupy space.

Astrit Ismaili graduated with an MA DAS Theater from the Academy of Theatre and Dance in Amsterdam in 2016. They have received grants including the Mondriaan Fund Project Investment Grant in 2019 and the Young Visual Artists Awards in 2011. They have opened with a performance Manifesta 14, Pristina, and Athens Biennale and have shown work at the Stedelijk Museum, Amsterdam; KW Institute for Contemporary Art, Berlin; SALTS, Birsfelden; Impulstanz, Vienna, among others. They co-organized the performance project Prishtine Mon Amour and co-curated a number of Lost & Found, a series of events where artists, writers, scientists and musicians can introduce hybrid works that do not comfortably sit into galleries or museums.

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Reza Afisina (also known as Asung) is a new media artist from Jakarta, Indonesia. Reza is part of the artist collective ruangrupa and GudSkul contemporary art ecosystem, as well as the music group bequiet. Together with Iswanto Hartono, they formed an artist duo group with the initials RA.IH and worked to run programs at ruruHaus Kassel, Germany (2020-2022) for the 2022 documenta fifteen where ruangrupa, as an artist collective, served as the Artistic Director. Reza has served as a guest lecturer at the University of Kassel Germany (Dept of Architecture, Urban Planning and Landscape), Kassel College of Art Germany (Dept of Art and Theory),

University of Fine Arts Hamburg (Dept of Art and Theory) and the Uniarts Helsinki (Theater Academy). Reza has also served as part of the Kyoto Experiment Japan Advisory team. Starting from the beginning of 2014, Reza will undertake his artistic research scholarship program at the Rijksakademie van Beeldende Kunsten, Amsterdam.

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Cempaka is Marishka Soekarna, a mother, visual artist and music selector from Indonesia. Cempaka is also part of a duo music selecta, Iramamama, whose collections includes Indonesian gems from 50s to 70s, Asia’s quirkies to the western post-punk music. With Iramamama, Cempaka participated in ‘Southern Constellation: Poetic of the Non-Aligned’, Slovenia (2019). She also performed at the Korean Pavilion – Venice Biennale, Italy (2019) and the Autostrada Biennale, Kosovo (2021). In addition, Cempaka conducted a series or radio show called “Elternabend” with Kassel’s independent radio collective, Radio Rasclat, Germany (2021).

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Mercedes Azpilicueta is a visual and performance artist from Buenos Aires living and working in Amsterdam. Her artistic practice brings together various characters from the past and the present, who manifest as voices, shapes, texts, traces, and memories into her multi-layered works. Calling herself a “dishonest researcher,” Azpilicueta navigates through multiple references and fields of knowledge, from art history to popular music, literature to street culture, falling in love with dissident figures and trajectories — feminist, queer, migrant, exiled individuals — who haunt her scripts, performances and videos. However, her work never indulges into cold reverence or archival fascination. By engaging the body with all its flaws and potentials — her own body, that of her muses and collaborators, that of the spectators, but also fantasised ones — Azpilicueta embraces its fragility as well as its capacity for resistance and care.

She was an artist in residence at the Rijksakademie van Beeldende Kunsten, Amsterdam in 2015-16, and received the Pernod Ricard Fellowship in 2017. Solo exhibitions include Kunstverein Göttingen (2023); Sammlung Philara, Düsseldorf (2022); Kunstmuseum Liechtenstein, Vaduz (2022); Gasworks, London (2021); CAC Brétigny, Brétigny-sur-Orge (2021); Museion, Bolzano/Bozen (2020); Van Abbemuseum, Eindhoven (2019); CentroCentro, Madrid (2019); Museo de Arte Moderno de Buenos Aires (2018); and Móvil, Buenos Aires (2015). Her work has been featured at Seoul Museum of Art (2023); Fries Museum, Leeuwarden (2023); the Hannah Ryggen Triennale at Kunsthall Trondheim (2022); MAXXI Museum, Rome (2021); Busan Biennale (2020); Villa Vassilieff, Paris; REDCAT Gallery, Los Angeles; MACBA, Barcelona (all 2018); CA2M, Móstoles (2017); and the Irish Museum of Modern Art, Dublin (2014). Azpilicueta was nominated for the Prix de Rome 2021.

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Sara Giannini is a curator, writer and educator based in Amsterdam. After studying theatre and semiotics in Italy, her birth country, she grew an interest in the interplays between language and performativity as tools of critical fabulations within different artistic practices. This somehow led her to contemporary art and to becoming a curator who rarely makes exhibitions. Since 2019 she is program curator with the arts organisation If I Can’t Dance, I Don’t Want to Be Part of Your Revolution, Amsterdam, where she develops art and research commissions exploring the expansive field of performance and performativity.

Prior to her engagement with If I Can’t Dance, she worked for the Global Art and the Museum programme at the ZKM | Karlsruhe on a range of editorial and curatorial projects investigating the impact of globalization on the art world (2010–2013). As an independent curator, she has initiated long-term collaborative projects such as the VOLUME project (2013-14), a collective inquiry on the library led with 98weeks, Beirut, the web-publishing platform Unfold (since 2015), and Heterotropics (2018-19), a series of interventions on the traces of colonial history in the urban and cultural fabric of Amsterdam.

As a Fellow at the Van Abbemuseum, Eindhoven (2016-17), Sara Giannini worked on aphasic language and scoring in relation to the archive(s) of René Daniëls. In 2018 she was a Curator in Residence at the Bard College Centre for Curatorial Studies (NY), where she has done research on the relationship between ecstasy, hysteria and non-identity. With artist Jacopo Miliani, she co-authored Whispering Catastrophe. On the Language of Men Loving Men in Japan (SelfPleasurePublishing, Milan, 2018) and with If I Can’t Dance she published Maquillage as Meditation: Carmelo and the Undead ( 2021), a script of an absent event evoking the (not very benevolent) spirit of Italian actor, director and writer Carmelo Bene.

Sara held teaching positions at the Dutch Art Institute, KABK in The Hague, Das Arts, SNDO and Sandberg Instituut in Amsterdam. As a relatively new mother, she has become more and more interested in the questions posed by (the labour of) invisible performances. If life allows, one day she wishes to turn this interest into a research project titled Performances Not To Be Seen (courtesy Jeanette Ingberman & Exit Art, NYC).

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Joram doceert kunsttheorie aan de Gerrit Rietveld Academie, waar hij ook voorzitter is van de Redactieraad voor Intercurriculaire Programma’s. Hij werkte als curator voor onder meer SMBA, Van Abbemuseum, De Brakke Grond & Museum Dr. Guislain, Schloss Ringenberg en Stedelijk Museum Amsterdam.

Zijn artikelen zijn gepubliceerd in o.a. Metropolis M, Boekman en Kunstlicht. Hij is voorzitter van vereniging Platform BK, commissielid van de CAWA en lid van wooncoöperatie Het Nieuwe Bajesdorp.

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Muhammad al-Kashef is a Berlin-based human rights lawyer, consultant researcher and advocate with a focus on migration control and border security. He is a co-founder of the Refugees’ Solidarity Movement in Alexandria, Egypt. Later, he founded the In-Exile initiative in Berlin and became a member of the migrants’ network We’ll Come United. As a member of the online mapping platform Watch the Med, al-Kashef monitors trajectories of irregular migration from North African countries through the Mediterranean Sea. Al-Kashef has worked alongside refugees and migrants in host communities, detention places and reception centres, as a researcher and legal consultant with a focus on community organising and capacity building. He is also a co-founder and active member of the Abolish FronteX network.

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Saja Amro is an architect, educator, and designer based between The Netherlands and Palestine. Her work investigates the influence of spatial design on social dynamics in education. In her practice, she disrupts traditional classroom structures, aiming to rebuild them on the principles of radical pedagogy. As a tutor at the Architecture Department of the Gerrit Rietveld Academie, Saja uses the classroom as a place to collaborate with her students and reimagine spaces inspired by popular education methodologies, and roots of indigenous cultures.

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Jesse Greulich is an object designer and educator based in The Hague. Her work is derived from the value of objects as facilitators of learning, and how they can be used as tools for empowerment within the learning environment. She has a strongly rooted sense of creating connections, drawing inspiration from natural elements. These connections often come to life through objects, tools and the human interaction with these.

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Cherella creëert altijd vanuit hun eigen referentiekader en persoonlijke onderwerpen en interesses. Zo was YONIVERSE – “Een theatraal hiphopconcert voor Black, Queer Bitches” – een solo waarin die op zoek ging naar healing van trauma’s door toedoen van de maatschappij en conflicten in hunzelf. Healing is een onderwerp wat hen aan het hart gaat en zoveel mogelijk terug laat komen in diens werk. In 2020 kreeg die een honourable mention voor hun deelname met YONIVERSE aan Fringe Festival en in 2021 ontving die zowel de 3 Package Deal als de Amsterdamprijs voor de Kunst, in de categorie Stimuleringsprijs.

In 2014 begon die hun carrière als acteur, waarbij die ontdekte dat theater de cohesie zou worden van alle disciplines bij elkaar. Vanuit hun eigen referentiekader begon die met het maken van losse scenes en performances en werd o.a. daarmee onderdeel van verschillende theater- en dansvoorstellingen. Bij o.a. platformen als DansLAB (Studio West), Jeugdtheaterschool Zuid-Oost (Bijlmerparktheater), DOX, Likeminds – The Factory, Talentlab (Bijlmerparktheater), de internationale Ballroom Scene, verschillende dansstudio’s/- docenten, L’École des Sables en Theatre Hotel Courage heeft hen veel kennis opgedaan als makende speler, regisseur, schrijver, spoken word artiest, experimentele danser, fysieke acteur en meer.

Verder was Cherella onder andere te zijn bij Maas Theater & Dans, Toneelmakerij, AYA, IDFA, Fashionweek Amsterdam & Parijs, KAF Almere, Frascati Producties, in verschillende (online) magazines en blogs, fashion- en muziekvideo’s, films, nationale en internationale fashion campagnes, tv- commercials, billboards en abri’s, in musea, exposities, theaters en poppodia in het hele land.

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Natalia Papaeva (1989) is a visual/performance artist, born and raised in Buryatia (Eastern Siberia). Since 2013, she has lived, studied and worked in the Netherlands. Natalia Papaeva uses her memories and experiences informed by her Buryat-Mongolian background. From this material she creates her performances, in which she combines singing, spoken word, and storytelling. The artworks raise poetic questions about major themes such as loss and mourning, language and identity, land and climate, ritual and healing, in a sometimes playful, sometimes serious manner.

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Mirelle van Tulder holds an MA in Fine Art and Design from Werkplaats Typografie (2021-2023) in Arnhem. She was a Research Associate at the Research Center for Material Culture, Wereldmuseum (2021-2023). Mirelle has worked as an image researcher for MacGuffin Magazine from 2019-2023.

Her practice delves into the colonial archive, seeing its complexity not only as an incredibly vast collection of objects and documents, but also understanding its position concerning personal history. She combines the use of the archived material and its historical position, determined by displacement, with its poetic performativity as a prompt to point to the historical record of the many colonised areas in the Global South. As Mirelle’s research expands and evolves, her work stands as a testament to her commitment to uncovering hidden histories and fostering dialogue around the power structures that shape graphic design, art history and society as a whole.

In 2022, she founded the magazine and publishing house Roots to Fruits, that explores the intersections between music, archives, and resistance. Roots to Fruits has been included in Printed Matter’s New York Art Book Fair (2022), Offprint London (2023), and the Melbourne Art Book Fair (2023).

In 2023 Mirelle van Tulder became the new Atelier KITLV-Framer Framed Artist in Residence. Artists in residence work on urgent topics at the intersection of art and culture, academic research, and scholarship in the field of Southeast Asian and/or Caribbean Studies, and in relation to (post)colonial theory and discourse.

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Agata Guńka is a passionate mushroom picker of various interests with roots in Eastern Europe, studying Urban Studies but trying to discover how to break away from her social sciences academic background. She has done work related to food, feminist mutual aid as well as collaborative living spaces and their limitations.

Aga is one half of the Co/Living: Points of Entry project, together with yourfriendkas. Kas and Aga have decided to collaborate on their project through their shared interest in collective living.

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